Sentences with phrase «narrative scenes from»

Not exact matches

U nder the influence of western painters who settled in Bali in the 1930s - Balinese artist started painting single scenes instead of narratives tales, using images from everyday life as their theme,

Peter may well have been present at most of the scenes recorded in the gospel, and much of the narrative is probably derived ultimately from him.

The most that the present writer believes can ever be claimed for a gospel narrative is that it may represent a typical scene from the ministry of Jesus, for example the narrative of the Paralytic at Capernaum, Mark 2:1 — 12 par.

This approach would call foul on all sorts of things: Moses wielding a sword but not a staff; Moses being chatty but Aaron having almost no lines; Moses killing lots of people and fighting in the Egyptian army; no «staff - to - snake» scene; no repeated utterances of «let my people go»; no «baby Moses in the Nile» scene; and every other deviation the film takes from the narrative in Exodus 1 - 14.

Its ambitions scope, its thorough research, and its carefully balanced and highly nuanced narrative will make it one of the primary sources of reflection about the shape of higher learning long after many contemporary diatribes have faded from the scene.

Still, with storytelling so tremulous and impressionistic, 5 or 10 seconds trimmed from this scene and that accrue to shake out big wrinkles in narrative time.

It's a tricky narrative challenge to shift from inherently compelling wildlife scenes to abstract courtroom debate, but the film manages it capably, even spicing things up with one justice's admonition that Wise needs to cut his slavery analogies.

By the time we arrive at «the incident,» the filmmakers are simultaneously mainlining and distorting the scandal's iconic figures and moments: posing a bloodied Harding over Kerrigan's (Caitlin Carver) bruised body; imagining a scene of Harding and Kerrigan bonding over pizza, booze, and En Vogue in a hotel room; and introducing «bodyguard» Shawn Eckhardt (Paul Walter Hauser) and «hitman» Shane Stant (Ricky Russert), the moronic goons who wrenched Harding's narrative away from her and turned it into tabloid grist.

Over a speedy narrative arbitrarily marked by the passing months, Kelly sharpens his two main performances into actual human beings: Plemons evolves from frustrated eye - rolling and seething to articulated anger, while SNL's Shannon, always brassy as a storyteller, has a major scene when her voice has been stolen by the disease and she must pass the baton.

In a film so manipulative and wrongheaded on so many different narrative levels, for this gem of a scene to emerge and produce real tears from a character barely written in to the story is a welcome surprise.

Winterbottom occasionally cuts from the narrative to scenes of an ageing Raymond sitting alone, watching footage of his lost daughter, lost in his memories and his grief.

From the use of the framing device, insertions of historical footage and animated interludes, to the staging and blocking of the murder scenes, everything serves a purpose that helps build a narrative that's at once lucid and unspeakably nightmarish.

From then on, the narrative coils between a few brash scenes in prison, many sexual encounters with women upon release, and triumphant times of success with the intellectual elite in Vienna.

There is no new footage, as director Kapadia collects terrific clips from a variety of sources (including behind - the - scenes meetings and home movies) and assembles them into a narrative structure that tells Senna's story chronologically, accompanied by Antonio Pinto's moody score.

As this new trailer — which is more of a behind - the - scenes glimpse at the production than a proper narrative trailer — reveals, the film will feature a new song from talented musical boy Nick Jonas.

Utilizing a cut - and - paste animation style with a photographic edge to recreate scenes from Hicks's life, usually to cheeky effect, American turns some 90 minutes of interview footage into a smooth, illustrated, altogether agreeable narrative that is chock - full of anecdotes and achieves a genuine intimacy without resorting to hero - worship (only the occasionally lame visual, such as the whitewashed depictions of tripping during Bill's mushroom blowouts at Kevin Booth's ranch, weaken the device).

A scene in which Abdellah shares a cigarette with a kind, genial stranger on a park bench would have been cut from most films, as it serves no specific narrative function, but here it's an unexpected reprieve and a simple opportunity to watch Abdellah smile.

While the movie suffers from a few tired narrative turns (much of Ali's life may be storybook - perfect, but we expect more grit), the fight scenes are terrific: brutal, kinetic and purely expressive.

The worst moments are ported complete from the Tolkien source material (and the theatrical version of The Two Towers): the convenience of a fortuitous in - battle as little Sam storms an enemy keep by himself, the deus ex machina of giant eagles arriving at moments of crisis (in fairness, it seems as though the scene establishing their summoning has been jettisoned), the curiously limp money shot of Aragorn's grasping of his legacy, and a general narrative choppiness that defeats pacing and deadens interest for all but the most invested.

Ripping off scenes entire from sources as varied though familiar as Scream, Pet Sematary, and Tenebre, The Pool is teeth - setting in its humdrum prudishness and narrative predictability.

Contrast this with one of last night's late - night picks, In Search Of The Ultra Sex (C --RRB-, a collage of scenes from»70s,»80s, and»90s pornos (and, uh, Samurai Cop) combined to produce a very, very loose narrative about a team of galactic crusaders sent to find something called «the ultra sex» and cure the plague of horniness that has gripped mankind.

The legendary composer's story then unfolds in a series of flashbacks depicting key scenes from his life, using his lyrics he wrote to provide much of the narrative.

The former half of the narrative contains one of Bissell's favorite scenes: When Sestero's worried mother warns the unearthly Wiseau, who's about to drive Greg from San Francisco to L.A., not to hurt or have sex with her son.

Ford's cinematic influences are overtly placed — everything from the iconography and satire of DR. STRANGELOVE (as shown in the war room scene), to the narrative drive of STRAW DOGS (as shown in the grippingly tense scenes with fictional Tony's harassers, led by a perfectly - cast Aaron Taylor - Johnson), to the tangible feel of David Lynch's oeuvre, to the cunning bite of Michael Haneke's FUNNY GAMES.

The storybook images of stunning landscapes and lavish settings are a visual feast (Tarsem shot the fantasy scenes piecemeal all over the world over the course of four years) and the narrative innocence of wild turns and impossible feats (like traveling from China to New York to Paris on horseback in what seems like a day) is a charge.

Here, Jodorowsky's magical realist, fable - like cinematic language finally enters the real world; if cult films like «El Topo,» «The Holy Mountain,» and «Santa Sangre» interwove elaborately absurdist imagery with narratives borrowed from genre and myth, «The Dance of Reality» feels like Jodorowsky returning to the scene of the crime — to the the childhood visions and heartbreaks that started it all.

It goes out of its way to avoid conflict or drama or crisis, and it fails to provide a single narrative reason to keep watching from one scene to the next.

Strobing cinematography from Natasha Braier proves infectious and mood - inducing, particularly in an early club scene that threatens to induce seizures for even the most mild epileptic, as The Neon Demon's delightful fits of highly - stylized violence offer respite from its tedious narrative footing.

The only minor nit is that some of the book's final scenes pick up on story threads from much earlier in the series — like from books 3 and 4 — and if (like me) you haven't read those volumes in 15 or so years, the resolution of these dimly - remembered plot points lack the narrative punch they might have had.

Told in a parallel narrative structure, it's present day scenes depict the breakdown of a marriage while the beginnings of the relationship from six years earlier are revealed in flashback.

For a film that's success hinged on comic book accuracy as well as the simplicity of its narrative, Deadpool painted itself in a corner during the post-credits scene by promising the time traveling mutant from the future, Cable (Josh Brolin), for the sequel.

But after a pacy early scene in which courier Lara leads a wild bike chase through East London, the action reverts to the tried - and - true as the narrative focuses once again on tomb raiding, ruthless mercenaries, mad races through the jungle, much hanging from precipices, secret chambers being penetrated and dormant curses being unleashed after two thousand years.

To wit: in addition to all the episodes from each season of the show, this collection will (finally) feature both the European and American versions of the show's pilot (the former featuring a closed narrative loop, so it could be released as a feature), deleted scenes from both seasons, and loads of other extras, including a feature - length documentary called Secrets from Another Place.

The use of flashbacks, too, far from being a cheap narrative device, serve to enrich and heighten earlier scenes marked by either cruel acts or startling revelations.

Scenes from Ismael's latest production, a thriller about a genial spy named Ivan Dedalus (Louis Garrel), pepper the main narrative in cheeky film - within - a-film fashion.

While the movie suffers from tired narrative turns (much of Ali's life may be storybook - perfect, but we expect more grit), the fight scenes are unsurpassed: brutal, kinetic and purely expressive.

The narrative attempts to tell a bizarre funhouse mirror version of a rags to riches story of a crazy director with no talent who becomes a celebrity in spite of himself by making a terrible movie badly, but Franco and his cadre of famous friends (his brother Dave, Alison Brie, Zac Efrton, Seth Rogen, and so on and so on) seem far too tickled making shot for shot remakes of scenes from The Room to latch onto anything beyond an extended SNL skit.

The plot of Battle Los Angeles is only a few dialogue scenes removed from the objective - based narratives of countless video games concerning warfare in modern times.

Only in the final few scenes does the film set up for (perhaps) future adventures with Robin and friends as outlaws, but, in a film that fruns about the 2.5 hour mark, the shortcut taken in the narrative to push Robin from hero to outlaw seems to be fudging things a might too fast.

The videos feature a variety of actors, storytellers, singers, musicians, mimes, puppeteers, and dancers, among them professionals, teachers, and students performing scenes from a range of medieval narrative genres, including epics, romances, lais, tales, fabliaux, and others.

I explain that students can play through survival scenarios to create narratives, re-create settings and scenes from novels to demonstrate reading comprehension, and even analyze the digital game itself as a new media genre.

The accompanying DVD provides vivid scenes, interviews, and narrative from classrooms around the country to highlight how each school meets its students» needs.

Written in several stands, the somewhat fragmented narrative never dilutes the impact of the boldly composed panels depicting scenes from Sís» infancy through young adulthood.

These harrowing scenes are presented with the passion and narrative force that readers will recall from Birdsong.

The narrative shifted from scenes in various homes with happy and relaxed families and individuals.

Truth be told the quality of both the writing and main narrative thread is all over the place, bouncing madly from genuinely beautifully written moments with emotional impact and outstanding twists sure to leave you with your jaw on the floor to scenes with clumsy dialogue and ideas that just didn't work out as well as I would have liked, though exactly how much of this inconsistency can be put down to translation issues is hard to judge.

Yeah, thing is do you realize / admit that it - and only talking about the first game here - was the most linear entry in the whole of the franchise, that there was no narrative, that the characters did nothing but rather just moved from scene to scene and that as the player all you were allowed to do was move them from scene to scene?

Don't let all this talk of stunning visuals, thrilling combat, immersive narrative and controversial sex scenes distract you from Dragon Age: Origins «real selling point — it's got your grandma in it!

Unfortunately, a key scene at the start of the game has the potential to take most of the suspense away from the narrative: it appears that the killer is revealed in one of the opening scenes.

In other words, a mask is an avatar through which the player acts out, while a player character is an avatar that asks the player to role - play; combining the two by distancing the player from the character (by having all narrative aspects of the character occur solely in cut scenes) is schizophrenic, although also «business at usual» in contemporary videogames.